Weacknowledge the Gadigal people as the traditional owners of this land we practice. We pay our respects to elders past, present and emerging.
Soveriegnity has never been ceded. It is and always will be Aboriginal land.
I would like to thank my tutor, Felix McNamara for his continual support and dedication throughout my thesis and project. His constructive guidance and invaluable insight have aided immensely in the completion of this thesis studio. I’m also extremely grateful to my undergrad tutor, Paula Vigeant, who laid the foundation for my skills to develop and continues making time even now, to check in with me.
I wish to thank my partner and my parents, I am grateful for all their late-night phone calls, and motivating speeches throughout my studies. Without the support of all these people, this thesis and project would not be possible.
MARC6000 Thesis Studio | Architecture and Total Art
Tutor | Felix McNamara
Arnav Aggarwal | 530591696
Architecture and Total Art will ask students to produce a gesamtkunstwerk or ‘total work of art’, a small architectural project in which every aspect of the design across scales and mediums is considered as one cohesive aesthetic language. The project is to design a performance or exhibition venue specific to a particular artist, architect, composer, filmmaker etc. – or to a specific performance-based artwork itself: a particular opera or play for example. This choice will determine how the building is conceived – as a (small!) theatre, a museum, gallery, or concert hall for instance. The project must then explore its building type in considerable detail, designing the performance scenography or exhibition architecture for instance as a wholistic gesamtkunstwerk combing the project’s form and content. A student might consider their project as a foundation or archive for a particular historical or contemporary artist which provides retrospectives of their work. The architecture would have to engage in rigorous dialogue with the artist’s language. For performance-specific projects, the building might be considered in its first instance something of an empty shell or vessel which can be transformed for the sake of specific works of ‘total art’.
Technology has always been a field that has directly or indirectly affected other areas of society, among which art and architecture also lie. Done chronologically, this research project focuses on mid to late-20th-century events, specifically, the Cold War, the Space race, Retro-futurism, the Radical Architecture movement, the rise of consumerism, and the internet and how these events inspired the creations of Stanley Kubrick, Superstudio, Steve Jobs, Dieter Rams and more.
In particular, Stanley Kubrick’s 2001: A Space Odyssey (1968) does a phenomenal job of demonstrating how geometric design can influence spatial perception and narrative. Kubrick was highly influenced by the Space race, the effects of which can be seen in the futuristic set furniture and structures that are employed in the film. Similarly, The Radical Architecture Movement in Italy (1960s-1970s), which has become synonymous with Superstudio, also explores a new way of architectural thinking by breaking away from the traditional ethos, by making use of geometric abstraction. And when it comes to radical design language, Steve Jobs’s NeXT computer uses a 1-foot die-cast of a magnesium cube, which aligns with his vision of creating the perfect cube to correct the flawed human vision.
These historical examples highlight the significance of technological events through time and how they have helped in shaping revolutionary architectural design and artifacts. The design intervention thus, takes inspiration from the NeXT computer’s cube and Herzog & de Meuron’s Signal Box‘s unique geometric exoskeleton to create a monolithic space that sticks out of the existing site. And internally, while paying homage to Kubrick’s and Superstudio’s grid system, and Space Odyssey’s curvy-linear structure’s spatial design to create a spiral art exhibition space with a grid floor as the light source. Through this space, people would be able to experience a feeling of continuity by walking on this structure while also admiring a curated set of artworks. Coming to Kubrick’s works and the big role music played in evoking emotion, this exhibition space will also have a dedicated space where music can be played and practiced, which ties up with one of the existing functions of the site.
This research project analyses and explores the relationship between architecture and technology through certain technological advancements through time and how they have led to or inspired the creation of prominent artifacts.
With the evolution of technology, similar to other fields, architecture has also seen significant changes over time. For example, during the Cold War in the 20th century, embassies were built to be far less porous to enhance protective measures, which majorly impacted the aesthetics of the facade1. Since the adaptation of the internet in the early 21st century, it has led to advancements in material and building sciences, the creation of various software, etc. All such events have had a direct or indirect impact on architecture in the form of new elements becoming part of the design language, for instance ‘the grid’, which has some of its initial uses rooted in Renaissance times where it was used to structure composition. It can then be seen in different modernist movements such as De Stijl and the Bauhaus. Furthermore, with the emergence of various architectural movements such as futuristic, brutalist, retro-futurism, modern, and the ongoing, contemporary architecture movement, the grid is being used to date but its connotation or value has evolved with time.
Moreover, specifically from the 1960s to the end of the 20th century, certain events like the Space Race or the Cold War have had an impact on the creation of artefacts like Stanley Kubrick’s movies, Dieter Ram’s Braun products’ designs, Steve Jobs’s NeXT computer and more. Kubrick was inspired by the technological advancements that happened during the Space race and this inspiration can be seen in films like Dr Strangelove and 2001: A Space Odyssey. Specifically in The Space Odyssey, there are uses of futuristic furniture, lighting, and set design that make the viewer experience the feel of what it would be like in outer space2. Similarly, Dieter Rams was also a pioneer during the 1960s-1980s, where he created highly functional, user-friendly designs with a minimalist aesthetic. His philosophy of minimalism and precision aligns with what the Space Race symbolised.
Other than the space race, during the same time frame, movements like the radical architecture movement were also occurring and they too had a deep connection with technology. It had groups like Superstudio, Archigram, and Archizoom emerging who viewed technology as a medium to ‘re-imagine society’, while challenging the traditional architectural conventions to propose new forms of urbanism3. One of Superstudios’ main design elements used to convey their messages was again the grid, and we can now see how the grid and other forms of geometry have always been used in mediums of videography, art pieces, architecture, and more.
1. Mark Byrnes, “Saving the Architecture of Cold War-Era Diplomacy,” Bloomberg, December 21, 2023, https://www.bloomberg.com/news/ features/2023-12-21/how-modernistarchitects-fought-communism-in-thecold-war.
2. Rethinking The Future, “An Architectural Review of 2001: A Space Odyssey,” RTF | Rethinking The Future, December 27, 2022, https:// www.re-thinkingthefuture.com/ rtf-architectural-reviews/a8893-anarchitectural-review-of-2001-a-spaceodyssey/.
3. Speculative EDU, “SpeculativeEdu | the Radical Design Movement,” speculativeedu.eu, July 30, 2019, https://speculativeedu.eu/the-radicaldesign-movement/.
As technological advancements rose, and the internet started becoming widely adapted, Steve Jobs created the NeXT computer. He made this to represent a ‘perfect cube’, but it was inherently in dimensions, not perfect, which led to the overall fascination people had with the form of the computer4.
Thus, this thesis aims to explore the effects of technological events through time on architecture, with the help of geometric design elements used in prominent artifacts. The analysis will be done in a chronological manner where the events are discussed and their relationship with the design artifacts is explored. From that analysis, a design intervention will take place on the ‘Gadigal Green’ site, in the form of an art exhibition space that will celebrate the history of architecture by taking inspiration from the highlighted artifacts throughout the research, leading to ‘Gesamtkunstwerk’, i.e. a total work of art.
4. Fast Company, February 16, 2016, https://www.fastcompany.com/3056684/ remembering-the-design-legacy-of-steve-jobss-other-great-computer-company. the Radical Design Movement,” speculativeedu.eu, July 30, 2019, https://speculativeedu.eu/ the-radical-design-movement/.
Perfection is unattainable, but that doesn’t mean we shouldn’t strive for it.
- Stanley Kubric
What are those lines?
Architecture, similar to other fields, has always been impacted by other macro events happening in the world. From a chronological perspective, in the mid-20th century, French philosopher Paul Virilio explored the notion of how the rise in digital networks and technological speed, is resulting in a disappearance of space’5. He feared that with the increase in global travel, the role of cities as gathering places and communism would get lost, leading to disorientation. This caused planners to rethink and bring back the focus on how to design in a way where cities remain places of social gathering and encounter in a time where virtual interaction was slowly being introduced. This interplay of technological events or advancements has led to changes in architectural design through time, be it in a positive manner or negative.
Furthermore, around the 1960s, during the Cold War, the Internet was developed but its origins are such that one would not expect. It was initially founded by the U.S. Department of Defense’s Advanced Research Projects Agency (APRA) as a communication system, to fulfill ‘the need for a decentralized network that could function even if some nodes were damaged’6. After military use, it went through different iterations and eventually became a part of public use in the 1980s and 1990s, which further transformed all facets of society like commerce and communications. And around that time, another thing that widely impacted the world of design and architecture was the Space race.
While the world’s ‘superpowers’ were focusing their resources on achieving superior spaceflight abilities, designers were trying to create futuristic homes inspired by the themes of experimentation, modernism, technology, and optimism; deriving from a new positive challenge for the world after the Cold War7. It was around this time that the ‘Retro-futurism movement’ took flight and had architects like Oscar Niemeyer and Matti Suuronen (Image 2) constructing buildings that almost made it seem like you were on the set of a space film. Bold design statements were also made by architects like John Lautner and his prominent Chemosphere (Image 4) in Hollywood, giving the feeling of a flying saucer. Similarly, even now, Eero Saarinen’s Gateway Arch in St Louis continues to provide a sense of otherworldliness. Along with innovations in structural and facade designs, the interior decor also had new minimalistic interventions such as capsule and pod-shaped furniture. A famous use of this can be seen in Stanley Kubrick’s 2001: A Space Odyssey. Kubrick was very highly inspired by the developments in designs happening during that time, because of which Oliver Mourge’s red Djinn chairs and Eero Saarinen’s white pedestal tables (Image 3) can be seen as part of the set furniture in most of the film’s scenes.
5. Jorge Otero-Pailos, “Living or Leaving the Techno-Apocalypse: Paul Virilio’s Critique of Technology and Its Contribution to Architecture,” Journal of Architectural Education 54, no. 2 (November 2000): 104–10, https://doi. org/10.1162/104648800564815.
6. Ben Tarnoff, “How the Internet Was Invented,” the Guardian (The Guardian, November 28, 2017), https:// www.theguardian.com/technology/2016/ jul/15/how-the-internet-was-invented1976-arpa-kahn-cerf.
7. Rin Hamburgh, “How the Space Race Influenced Design,” The National, April 9, 2015, https://www.thenationalnews. com/arts/how-the-space-race-influenceddesign-1.55612.
Bringing 2001: A Space Odyssey into deeper focus, Kubrick himself said: “It’s not a message that I ever intend to convey in words. This film itself is a nonverbal experience”. As there are no dialogues or words for more than two-thirds of the film, Kubrick portrays the story through visual cues8 such as using recurring components to curate a space. Even though the story revolves around a very hypothetical future set in interstellar travel, the viewer is able to feel a sense of duration thanks to the set lighting repetition throughout the scenes, symmetrical panels inside the spacecraft and unique features like grids used in the interiors9. This technique of architectural modernism has been employed to let the audience of the mid-20th century imagine a plausible future where an advanced level of space travel is possible. But at the same time, the bespoke furnishings and interior elements give the space a cozy lived-in sense that acts as a contrast to the overall themes of futuristic technology and more9.
Hence, inspired by the events of the time, Kubrick’s disruptive approach to set design and cinematography has made a lasting impact on architecture, contemporary design, furniture, and home decor, turning his films into key references for design aesthetics10. Moving on, the two specific design elements of the film’s set that will be used as inspiration for the design intervention are the - giant centrifuge/ ‘Ferris wheel’ and the use of grid lines throughout the film set. From an overall perspective, Kubrick collaborated with a team of specialists to create the different futuristic interiors while ensuring that they matched NASA’s cuttingedge technology to maintain authenticity10. Specifically, the mega centrifuge (Image 5) which was the core of the ‘Discovery’ spacecraft (the name of the vehicle in the film), is potentially an accurate representation of the type of device that could be used to ‘create artificial gravity for overcoming weightlessness during future deep-space voyages’11. Being 38 ft in diameter and 10 ft wide, it cost $750,000 at that time and was built by the Vickers-Armstrong Engineering Group. It rotated at a maximum speed of three miles per hour and had desks, consoles, bunks and more built-in for the astronauts11(Image 6).
These elements can again be seen in a lot of the scenes and give a modern futuristic character to the vehicle’s indoors that Kubrick was trying to portray. This structure also speaks to the themes of the movies, for example- there’s a scene in which the protagonist is seen jogging along the inside of the centrifuge, and this is portrayed in a way that emphasizes the never-ending, endless journey of life, and the cyclical nature of humanity’s progress and evolution. Furthermore, structural elements of spirals and loops continue being used in creating buildings then and now. One example would be the Guggenheim Museum, constructed in 1959 by Frank Lloyd Wright. Nowadays, we can see such spirals often used in staircases to make efficient use of space.
8. Interiors Journal, “INTERIORS: Stanley Kubrick,” ArchDaily, June 9, 2014, https://www.archdaily. com/514027/interiors-stanley-kubrick.
9. Rethinking The Future, “An Architectural Review of 2001: A Space Odyssey,” RTF | Rethinking The Future, December 27, 2022, https:// www.re-thinkingthefuture.com/ rtf-architectural-reviews/a8893-anarchitectural-review-of-2001-a-spaceodyssey/.
10. vīsĭo, “Stanley Kubrick’s Influence on Interior Design,” VĪSIÓ, July 10, 2024, https://visioco.co.uk/stanleykubricks-influence-on-interior-design/.
11. American Cinematographer, “Filming 2001: A Space Odyssey - the American Society of Cinematographers (En-US),” theasc.com, accessed October 30, 2024, https://theasc.com/articles/filming2001-a-space-odyssey.
Moving on to the second important design element of the film- grids. One of the recurring components that was discussed above is Kubrick’s use of grids throughout the film. His fascination with visual symmetry, precision, and consistency can be seen in the structure of the ‘monolith’ that is a rectangular form. Even inside the spacecraft, the linear corridors and concrete lines enhance the themes of human struggle (physical and technological)12 and the fight between chaos and control. One of the most notable uses of the grid in the film is the illuminated grid floor in the bedroom scene. At that point in time, grids were not a common element to be used in architectural or interior practices, thus, the way Kubrick used them became memorable.
Continuing the discussion on the increasing significance of grids in the design language of the mid-to-late 20th century comes the Radical Architecture Movement. This was developed in Italy and focused on the city of Florence, where students started proposing radical new ways of living. From this, a new generation of architects critiqued and analysed the traditional methods of architecture and design and proposed questions regarding what cities might become in the future13. One of the most associated names with this movement is Superstudio, founded in 1966 by a group of young architects. A recurring theme of theirs was the harmony between nature and architecture and how architecture can be a ‘catalyst’ for social change. Many of their works used the grid as a system in an urban context in which ‘every point on the grid was the same as any other point and all people existed equally’13(Image 7). One such prominent work that highlights this philosophy is The Continuous Monument (Image 8), which portrays an arrow-like continuous structure covering and shaping the entire world. Its ‘volume acting as the optimal living space’ for humanity, leaving the uncovered area uninhabited and allowing for natural development, without disturbance from human intervention13. This structure, according to Superstudio also speaks to the ongoing rise of globalisation and technology which is ultimately leading to uniformity on a large scale, resulting in local cultures being stripped away14. Thus, the radical movement and Super Studio also became examples of the mingled relationship between architecture and technology.
12. Aravind Nair, “2001: A Space Odyssey - Visual Analysis & Theme Explained,” High On Films, July 25, 2023, https://www.highonfilms.com/2001a-space-odyssey-explained/.
13. Speculative EDU, “SpeculativeEdu | the Radical Design Movement,” speculativeedu.eu, July 30, 2019, https://speculativeedu.eu/the-radicaldesign-movement/.
14. Jonathan Ringen, “Superstudio: The Architecture Collective That Influenced a Generation,” Metropolis, January 6, 2004, https://metropolismag.com/ projects/architecture-collectivesuperstudio-influenced-generation/.
Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design makes a product understandable.
Good design is unobtrusive.
Good design is honest.
Good design is long-lasting.
Good design is thorough down to the last detail.
Good design is environmentally friendly.
Good design is as little design as possible.
- Dieter Rams
What is perfect?
Moving on from the discussion of how the Space race and events like the Radical architecture movement and Retro-futurism inspired the creation of significant design artifacts of the 20th century, we arrive at how technology influenced the design language of architects and designers like Dieter Rams, Steve Jobs and Herzog & de Meuron.
It’s 1961 and let’s go through how Dieter Rams’ unique design language had made Braun a household name. “Less, but better”, was the mantra Dierter Rams lived by. Originally trained as an architect, his work at the consumer products company Braun made him one of the most influential industrial and product designers of the 20th century. The curator of an exhibition showcasing Rams’ works at the Philadelphia Museum of Art - Colin Fanning, talks about how Braun and Rams created this model for the company where the design was given more than aesthetic value and ‘gloss’, it was central to the whole process15 and perhaps that was what stood out during a time where design was seen as something superficial. His designs at Braun paid attention to extreme simplicity and usability while giving them a modern, ‘forwardlooking appearance’15.
“The stuff they were doing in the nineteen fifties still looks like the future.”
- Gary Hustwit
The quote by Hustwit, the American filmmaker who made the documentary Rams, highlights how although the technology of those products is nearly obsolete, the design and aesthetic value still resonate with us. Furthermore, Dieter Rams is most known for his 10 principles of good design, which sum up his design ethos. These serve as a guideline for future designers as well who aim to create such timeless products16.
Speaking on his principle of ‘good design is long-lasting’, Rams’ work concentrated on avoiding catering to short-lived trends and rather creating products that would be relevant for a long time. For example- his design for the ‘Braun DN 40 (1976)’ (Image 9) clock remains iconic to this date and is now being 3-D printed and recreated in the form of a phone docking station. Thus, his design principles have impacted technology and the world of design monumentally and continue to do so as a new generation of architects and designers get inspired by his work and creations. Similarly, the design intervention that will be discussed in this project also makes use of Rams’ design language in areas like portfolio design, documentation, and more, which will be talked about in the later sections.
15. Colleen Egan, “Industrial Design Giant Dieter Rams’s Uneasy Relationship with the Technology He Helped Create,” 1stDibs Introspective, January 11, 2019, https://www.1stdibs. com/introspective-magazine/dieterrams/.
16. Morjas, “Important Creators | Dieter Rams — a Marriage of Form and Function,” Morjas, August 15, 2023, https://www.morjas.com/us/blog/ important-creators-dieter-rams-amarriage-of-form-and-function/.
Moreover, Hustwit, when asked about Rams, also says- “Jony Ive is a fan. He’s talked about Rams as a big influence on his work, and Dieter went out to the Apple design lab and got the tour. There’s a mutual admiration there”15. Jony Ive, an American designer, most known for his work at Apple, where he was the senior vice president of industrial design and chief design officer, was highly inspired by Dieter Rams, which can be reflected in the sleek, modern lines used in the Apple products.
Coming to Apple, more specifically Steve Jobs, launched the NeXT computer/ workstation in 1988. Unline Mac which was for home use, the NeXT computer was for educational and enterprise usage. But the distinctive factor about Jobs’s second computer company was that this was founded with a ‘design-thinking’ mentality17. Paul Rand, an American art director and graphic designer teamed up with Jobs to create the NeXT logo. He was told by Jobs that the computer would be a perfect cube, to which Rand added on by tilting the cube at a 28-degree angle, which then gave us a memorable and distinctive logo17(Image 12). This philosophy of Jobs to have the perfect cube was to achieve perfection and greatness in terms of design. Moving on, the other designer who helped in the actualisation of the NeXT was Hartmut Esslinger, the founder of Frog Design. As Jobs wanted the computer to be a perfect cube, the production was difficult since it had to be exactly a foot long and have mathematically accurate angles which made the manufacturing costs higher as well but again, this was something that both Jobs and Esslinger didn’t want to compromise on17. Although the top, bottom, left and right sides were equal, the front and back were 15mm shorter to accommodate for the imprecise nature of our human vision (Image 13). This made it an optical anomaly where an imperfect cube was perceived as perfect in proportions, which continued attracting people, even when eventually NeXT went out of production.
Jobs went back to Apple as they acquired NeXT, but not empty-handed. The operating system used in the NeXT computers was then developed and modified to make the MacOS that millions of people now use. Hence, its legacy transcended to Apple products and other designers as well who got inspired to create following this design language17. For this project as well, the main exoskeleton that is created is influenced by NeXT’s outer perfect cube. But overall, artefacts like Rams’ design ethos and Jobs’ NeXT computer are all examples of the continuous interplay between technological advancements leading to the cultivation of these unforgettable products and artefacts.
17. John Brownlee, “Remembering the Design Legacy of Steve Jobs’s Other Great Computer Company,” Fast Company, February 16, 2016, https://www. fastcompany.com/3056684/rememberingthe-design-legacy-of-steve-jobssother-great-computer-company.
Lastly, in relation to Apple, Hartmut Esslinger, before leaving Apple to move on to NeXT, created the ‘Snow White’ design language that consisted of clean lines, minimal texturing and a distinct off-white colour palette (Image 14), that could be seen in most of Apple products back in the 1980s. This made computers, from just tech products to objects of design and aesthetic value18. Even now, glimpses of this design language can be seen in say Ikea or other modern sleek products. The design intervention that will be discussed in the later sections also makes use of this as a major focus of this project is to utilise geometry and clean line aesthetics.
Now coming to our last artifact which is the Signal Box in Basel (Image 15), Switzerland, built by Herzog & de Meuron, in 1998. This is a distinct building due to its location on an almost triangular plot of land, the ground plan moves from the bottom to the top into a rectangle19. The building itself acts as a ‘Faraday cage’ protecting the electronic tools and equipment inside from unexpected external effects20. The parallel copper strips on the facade cover it fully to make it harder to recognise the geometric shape of the building and thus evoke a feeling of vulnerability by making it seem something more organic like a head or a brain, instead of an industrial building19. And due to its unorthodox objectlike appearance, it’s also spatially linked to the other ‘solitary’ buildings in the area, whilst portraying a relationship with the adjacent railway tracks20. So, similar to the NeXT computer, the unique geometry of this building’s facade and its use concerning technology, is what connects it to the main objective of this research project. Moreover, some parts of the final design intervention are also inspired by the Signal Box’s geometry.
18. Jessica Hamilton, “How Frog Design and Apple’s ‘Snow White’ Collaboration Shaped Modern Tech Aesthetics,” feedme.design, September 20, 2024, https://www.feedme.design/ how-frog-design-and-apples-snow-whitecollaboration-shaped-modern-techaesthetics/.
19. Herzog & de Meuron, “119 Central Signal Box,” Herzog & de Meuron, 1998, https://www.herzogdemeuron.com/ projects/119-central-signal-box/.
20. Hitoshi Arato, “Signal Box by Herzog & de Meuron,” Thisispaper. com (Thisispaper, November 15, 2021), https://www.thisispaper.com/mag/ signal-box-herzog-de-meuron.
